This thesis challenges common assumptions of trans moving images by applying theories of identification to an autoethnographic close reading of three specific texts – Hedwig and The Angry Inch (John Cameron Mitchell, 2001), Dallas Buyers Club (Jean- Marc Vallée, 2013) and Transparent (Jill Soloway, 2014) - considered by both mainstream and queer audiences to feature transgender characters and experiences. This thesis, while limited to the author’s experience as a trans woman, attempts to advance the argument that identification with trans moving images may change with one’s transition and require a reassessing of “what is trans” along with resituating the trans spectator from “object of the gaze” to “bearer of the look” (Mulvey, 1975).
| Identifer | oai:union.ndltd.org:uottawa.ca/oai:ruor.uottawa.ca:10393/32929 |
| Date | January 2015 |
| Creators | Clayman, Valérie Robin |
| Contributors | Grandena, Florian |
| Publisher | Université d'Ottawa / University of Ottawa |
| Source Sets | Université d’Ottawa |
| Language | English |
| Detected Language | English |
| Type | Thesis |
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